Download the movie Enter the Void online. Enter the Void (2010) is a Drama, Thriller and Foreign movie that set to be released wide on September 24, 2010. In Enter the Void, after their parents die in a car crash, Oscar and his younger sister Linda make a pact to never leave each other. However, they end up being separated in foster care.

Oscar, now 20, lives in Tokyo and has saved enough money through drug dealing to reunite with Linda. As she becomes acquainted with the local scene, Linda becomes a stripper and gets into a relationship with her boss. Oscar disapproves of their relationship, while Linda disapproves of Oscar's addiction.

Oscar's mentor Alex gives him the Tibetan Book of the Dead, which describes one's experiences after death and before the next rebirth. Alex expresses his attraction towards Linda.

Oscar's client Victor discovers that Oscar has had sex with Victor's mother. Just after Oscar has smoked DMT (a powerful hallucinogenic), Victor orders drugs from him to be delivered right away in a nightclub called The Void. When Oscar enters, Victor apologizes to him, and there is a drug bust. Oscar flees into the toilet and gets rid of his supply of drugs, while police order him to open the locked door. They shoot through the door and kill Oscar. Alex calls Linda, but she's having sex with her boss and ignores the ringing telephone. Afterwards she is devastated by Oscar's death.

The deceased Oscar now has an aerial view of the world. He watches as Linda receives the news of his death and breaks down; Alex goes on the run, since the police are after him, and Victor falls out with his parents. Victor goes to Linda's house to apologize (apparently for assisting the police in setting up Oscar), but Linda tells him to kill himself. Interspersed through these scenes are Oscar's memories of his past; his relationships with his sister and mother are both sexually suggestive. The last scene is decided by the viewer; it is shot from the perspective of a baby being born. It is up to the viewer to decide if this is a flashback to Oscar's birth or his reincarnation as his sister and Alex's baby. Stars in Enter the Void movie are Nathaniel Brown as Oscar, Paz de la Huerta as Linda, Cyril Roy as Alex, Olly Alexander as Victor, Masato Tanno as Mario, Ed Spear as Bruno, Emily AlynLind as Little Linda, Jesse Kuhn as Little Oscar, Nobu Imai as Tito, Sakiko Fukuhara as Saki, Janice Béliveau-Sicotte as Mother, Sara Stockbridge as Suzy, Stuart Miller as Victor's Father, Emi Takeuchi as Carol (as Yemi) and Tarek Gader. Enter the Void is directed by Gaspar Noé and distributed by IFC Films, MPAA rating as NR. So download free Enter the Void (2010) movie HD online.

The cinematic experience itself is the main focus of the film, but there is also a central theme of emptiness. Gaspar Noé describes the film's subject as "the sentimentality of mammals and the shimmering vacuity of the human experience." The dramaturgy after Oscar's death is loosely based on the Tibetan Book of the Dead and ends with the spirit's search for a way to reincarnate. However the director, who considers himself completely non-religious, says that "the whole movie is a dream of someone who read The Tibetan Book of the Dead, and heard about it before being [shot by a gun]. It's not the story of someone who dies, flies and is reincarnated, it's the story of someone who is stoned when he gets shot and who has an intonation of his own dream."

The idea for the film had been growing since Noé's adolescence, when he first started to become interested in matters of death and existence. In his early twenties he saw Robert Montgomery's Lady in the Lake, a 1947 film shot entirely in a first person perspective, while under influence from psilocybin mushrooms. He then decided that if he ever made a film about the afterlife, that was the way it would be filmed. Noé had been writing on different versions of the screenplay for fifteen years before it officially went into production. The story had initially been more linear, and the drafts were set in different locations including the Andes, France and New York City. Tokyo was eventually chosen both because it could provide the colourful environments required for the film's hallucinogenic aspects, and because of Japan's repressive drug laws, which would add to the drama and explain the intensity of the main character's fear of the police.

Noé first tried to get the film funded in the early 2000s. Several producers responded positively to the script, and it was briefly under development for Tom Tykwer's German company X-Filme Creative Pool. It was however considered too expensive and the producers dropped out. Prospects changed when Irréversible from 2002 became a commercial success. Noé had written and directed Irréversible for StudioCanal, and it was sold internationally by their subsidiary Wild Bunch. When the producers at Wild Bunch asked Noé what he wanted to do next, he answered Enter the Void. The project was once again considered too expensive in relation to its commercial potential, but when Wild Bunch discovered that Noé had started to develop the film for Pathé instead of them, they changed their minds and said they were now willing to fund it. Since development went slowly at Pathé, Noé chose to not renew his contract with the studio and accepted Wild Bunch's offer.

Enter the Void was eventually produced under Fidélité Films with 70% of the budget invested by Wild Bunch. French co-producers included Noé's company Les Cinémas de la Zone and the visual effects studio BUF Compagnie. It received pre-sales investment from Canal+ and funding from Eurimages. Additional co-production support was provided by Essential Filmproduktion in Germany and BIM Distribuzione in Italy. The total budget was 12.38 million euro. In retrospection Noé compared Irréversible to a bank robbery made in order to finance Enter the Void, while also serving as a helpful technical exercise.

The choice to use English-speaking actors was made early on. Since the film would be very visual, the director wanted audiences to be able to focus only on the images, and not have to rely on subtitles. He later expressed his approval for the use of dubbed voice tracks in non-English speaking countries.

The role of Linda was the first to be cast. Noé found Paz de la Huerta after having held auditions in New York City. "I met Paz and I really liked her. She had the profile for the character because she likes screaming, crying, showing herself naked — all the qualities for it." It was a main concern that Linda and Oscar would be believable as siblings, so Nathaniel Brown, a non-professional, was then cast because of his resemblance to Huerta. Another reason for chosing Brown was that he wanted to become a director. Noé feared that a professional actor would be frustrated by being shown almost exclusively from behind, while an aspiring director would find it stimulating to merely be present on the set. For other Tokyo-based roles there were auditions held for westerners living in Japan. Cyril Roy went to an audition with a friend only because he wanted to talk with the director, whose previous films he admired. Roy was then cast as Alex since Noé found his talkative personality suitable for the role. Noé said about Brown and Roy: "The thought of acting in a film had never even entered their minds. They're easy-going people, they have a good time in front of the camera and I don't think there was a single moment where either of them felt they were working. Paz, however, was definitely conscious of the fact that she was interpreting a role."

Noé had tried various hallucinogens in his youth and used those experiences as inspiration for the visual style. One particular drug experience came later, when the director already was planning the film, and traveled to South America to try Ayahuasca, which is legal in certain parts of the Amazon jungle. The experience was very intense and Noé regarded it "almost like professional research." Since few in the design team ever had taken drugs, it became necessary for Noé to collect and provide visual references in the forms of paintings, photographs, music videos and excerpts from films.

Another important influence were the experimental films of Kenneth Anger, and in particular Inauguration of the Pleasure Dome. Noé was recommended Anger's films in the early 1990s, while promoting the short film Carne, and quickly became a fan. Other influences from experimental cinema included the works of Jordan Belson and Peter Tscherkassky. Among mainstream films, the most prominent influence was 2001: A Space Odyssey, which is Noé's favourite film, and made him want to become a filmmaker after he saw it at the age of seven. Snake Eyes and other films by Brian De Palma also influenced Enter the Void with their hovering overhead shots which contributed to Noé's desire to make a whole film from a similar perspective.

There were two reasons for showing the living Oscar's head and shoulders within the frame, rather than letting the camera be the character's eyes. The first was that this is the way Noé usually sees himself in dreams and when recalling past events. It was also because he thought it would become easier to care for a character who is shown, as many point-of-view films in his opinion look unintentionally funny.

The crew filmed in Tokyo for three months from 19 October 2007. Filming continued in Montreal the following spring for the flashback scenes, which took four weeks and ended on 16 May 2008. The team went back to Tokyo twice for additional footage, once before the Montreal session and once when principal photography was over.

Marc Caro worked as the supervisor of set designs in Tokyo. According to Noé, Caro had three months free after finishing Dante 01, his first effort as a solo director, so Noé asked him to come along to Japan. There were only four French persons on the set, the rest of the crew was Japanese. Since much of the film was set in neighbourhoods known for gambling and prostitution, it was necessary to make agreements with the Yakuza before filming some of the on-location scenes, although there was no involvement of criminal organisations in the actual production. Studio scenes set in Tokyo were filmed at Toho Studios. More scenes than originally planned had to be filmed in studio because of the many complicated crane arrangements. Some of the overhead sequences took a full day to arrange and film. The scenes where Oscar is alive were mostly shot on real locations, but the scenes where he is a ghost were almost exclusively filmed in studio; this included revisits to the previous locations, which were replicated as large indoor sets. Other shots were made from helicopters flying over Tokyo. There was a 100-page screenplay which detailed plot developments and many of the visual traits, but very little dialogue was scripted, so the actors were asked to improvise their lines. Noé explained his directing style: "For me, directing actors is just finding the right people and putting them in the right mood on the set and letting them go. ... I think the energy has to come on the set at the very last minute."

The film was mainly shot on Kodak Vision3 250D film stock. The sequence where Oscar is alive was shot in the super 35 format with Arricam LT cameras and the rest in super 16 with an Aaton XTR Prod. The cinematographer was Benoît Debie, who also shot Irréversible. Debie said that many exterior scenes required very little added lighting because of Tokyo's many neon signs, and practical, in-frame light sources were mainly used for interior scenes. Just like in Irréversible, Noé was reluctant to use artificial lighting that would destroy the illusion if the camera was turned around. Some exceptions were however made. One was that the moods of the characters were meant to be indicated by different colours, ranging from orange to purple with occasional greens. For this Debie used a set of red, green and blue automated disco lights which allowed for all different hues. The disco lights were easy to hide and also used for additional simulation of neon flashes and to add a slight tint of red to the dressing-room scenes. Another exception were the strobe lights which were programmed together with the coloured lights. Blue colour was avoided throughout since the filmmakers did not associate it with dreams. Noé was the film's camera operator except for a few shots of Oscar running in the streets, as they required a taller cameraman. In those scenes Debie held the camera.

Enter the Void's post-production process lasted more than a year. Work on the digital effects was led by Pierre Buffin of BUF Compagnie. Every single scene in the film includes computer-generated imagery; even the flashback scenes, where the backdrops were digitally altered. Studio scenes, helicopter shots and CGI were forged together in the hovering sequences with the aim that the viewer should be unable to determine which is which. German experimental film director Thorsten Fleisch was hired to create the animated sparks seen in the film's opening titles. Noé discovered Fleisch through his 2007 film Energie! which used the same technique. Thomas Bangalter, best known as a member of Daft Punk, served as the sound effects director.

A 163-minute version of the film competed in the main competition of the 2009 Cannes Film Festival. Noé said about the Cannes cut: "the film was like a baby of three months. I took it out of my belly to show it, flattered by Thierry Frémaux's invitation, but it was still in gestation. So I had to put it back into my belly, that is to say to tweak many details. A 155-minute cut was subsequently shown in September at the 2009 Toronto International Film Festival. The final 154-minute cut premiered at the 2010 Sundance Film Festival and was released in French cinemas on 5 May 2010 through Wild Bunch Distribution. The Japanese release followed ten days later.

Distribution rights for the United States were picked up at Sundance by IFC Films. Trinity Filmed Entertainment is the British distributor. The film was released in both the United States and the United Kingdom on 24 September 2010. In both these countries the film was distributed without reel seven of nine. The running time is therefore 137 minutes at 25 frames per seconds, or 142 minutes at 24 frames per seconds. Noé says that none of the cut material is essential for the film. He describes it as "some astro-visions, an orgy scene with Linda and the Japanese girl, the scene where you see [Oscar] waking up at the morgue and he thinks he's alive but he's not, and then the camera goes down the plughole where she's tipping his ashes." The reason the shorter versions exists was that Noé had promised the investors to make an alternative edit if the film ended up being longer than two hours and 20 minutes.

The film will be released on DVD and Blu-ray Disc in France on 1 December 2010. Each edition will feature one 157-minute version of the film, and one alternative 174-minute version.

Thomas Sotinel of Le Monde started his review by recalling the irritation the film caused upon its world premiere in Cannes, and compared the cut he had seen there to the final version: "In all honesty, the difference does not jump to my eyes. Of course, the film seems more consistent, but that may be because we've already traveled this maze once. While leaving, we might remain calmer, but still amazed by the mixture of exuberant invention and puerility." A positive review came from L'Express, written by Laurent Djian, who compared the film to 2001: A Space Odyssey, and applauded how he found the strobe lights hypnotising in a way that influenced the perception of time. "In 2010, no other [French] filmmaker than Gaspar Noé can shoot with such mastery, nor draw us into a vortex of sensations as vertiginous." Ouest-France's critic on the other hand was immensely bored by the film, calling it "a padding of simple ideas, stereotypes and cliches in a heap of contrived and vain images who think they're technical prowess. Soporific cinema."

Upon the Japanese release, the critic writing for The Japan Times reflected: "If Lost in Translation is the film you'd make when all you know about Japan are the pampered press junkets at Shinjuku 5-star hotels, then Enter the Void is what you would make if you never got beyond the Roppongi pub-crawl." While the review was largely negative, the author was still impressed by the visual depiction of the Japanese capital: "Visually, much of the film is stunning ... and the art design by Marc Caro (Delicatessen) takes Tokyo's love of neon gaudiness to a surreal extreme".

As of 7 October 2010, the film had an aggregated approval of 74% from 53 English-language reviews collected at Rotten Tomatoes, with an average rating of 6.8 out of ten. Peter Bradshaw of The Guardian gave the film a perfect rating of five stars, and made a comparison to Irréversible, which he had disliked: "Enter the Void is, in its way, just as provocative, just as extreme, just as mad, just as much of an outrageous ordeal[.] ... But despite its querulous melodrama and crazed Freudian pedantries, it has a human purpose the previous film lacked, and its sheer deranged brilliance is magnificent. ... Love him or loathe him – and I've done both in my time – Gaspar Noé is one of the very few directors who is actually trying to do something new with the medium, battling at the boundaries of the possible." Andrew Male rated the film two out of five in Empire. Male called it "technically stunning", but also "dreadfully acted, tediously ‘profound’ and painfully overlong", and accused it of misogyny. The Village Voice's Karina Longworth had several reservations about the film. She thought the characters lacked emotional depth and called the story "a lame fusion of stoner lifestyle, sexual fetish, and philosophical inquiry", but still ended the review: "I could stare at this movie for days and not get tired of the sensation. A mash-up of the sacred, the profane, and the brain-dead, Enter the Void is addictive."

Enter the Void won the Special Jury Award and the prize for Best Cinematography at the 2009 Sitges Film Festival. It received the main award for best film at the 2010 Neuchâtel Film Festival. This especially delighted Noé since one of the jury members in Neuchâtel was Douglas Trumbull, the special effects supervisor of 2001: A Space Odyssey.